HAYSTACK MOUNTAIN SCHOOL OF CRAFTS - Workshops Open Studio Residency Summer Conference
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SUMMER 2020
HAYSTACK MOUNTAIN SCHOOL OF CRAFTS
Workshops
Open Studio Residency
Summer Conference
SUMMER 2020 Schedule at a Glance
Life at Haystack
4
6
Open Studio Residency 8
Session One 10
Welcome
This year will mark the 70th anniversary of the
Session Two 14
Haystack Mountain School of Crafts.
The decision to start a school is a radical idea in and Session Three 18
of itself, and is also an act of profound generosity,
which hinges on the belief that there exists something
so important it needs to be shared with others.
Session Four 22
When Haystack was founded in 1950, it was truly an
experiment in education and community, with no News & Updates 26
permanent faculty or full-time students, a school that
awarded no certificates or degrees. And while the
school has grown in ways that could never have been Session Five 28
imagined, the core of our work and the ideas we
adhere to have stayed very much the same.
Session Six 32
You will notice that our long-running summer
conference will take a pause this season, but please
know that it will return again in 2021. In lieu of a Summer Workshop 36
public conference, this time will be used to hold Information
a symposium for the Haystack board and staff, focusing
on equity and racial justice. We believe this is vital
work for us to be involved with and hope it can help
Summer Workshop 39
make us a more inclusive organization while Application
broadening access to the field.
As we have looked back to the founding years of the Fellowships 41
school, together we are writing the next chapter in & Scholarships
Haystack’s history. I hope you will join us in telling
this story.
Programs Spotlight 44
Fab Lab 46
Paul Sacaridiz Haystack Publications 48
Executive Director
Workshops are open
to all skill levels,
beginners to advanced
professionals, unless
otherwise noted.
2 SESSION 3 : J U LY 1 5 – 2 7
WORKSHOP SESSION 4 SESSION 6
SCHEDULE July 26–August 7
CERAMICS
Ian McDonald
Studio Alphabet
August 23–29
CERAMICS
Chandra DeBuse
Sketch & Stretch: A Playful Approach
2
to Handbuilding and Surface Design
FIBER
Liz Collins FIBER
OPEN STUDIO SESSION Micro/Macro Brece Honeycutt
Flower Power
RESIDENCY June 21–July 3
GLASS
Deborah Czeresko FLAMEWORKING
May 24–June 5 BLACKSMITHING
#Reality Kim Fields
Nature in Glass: Sculptural
1
Rachel Kedinger GRAPHICS
Beadmaking Techniques in Soft Glass
Investigating Tableware Hope Rovelto
SESSION CERAMICS
Screen Printing for Social Change GLASS
Maria Bang Espersen
June 7–19 Erin Furimsky METALS
Can an Apple Explode Glass?
Luscious Layers: Form and Surface Lauren Kalman
BLACKSMITHING So Many! Multiples for Installation, GRAPHICS
FIBER
Thomas Campbell Jewelry, and Objects Georgia Deal
Cynthia Alberto
Fabrication Fundamentals The Paper Monoprint
Backstrap Weaving WOOD
CERAMICS Keunho Peter Park + Beth Ireland WOOD
GRAPHICS
Mathew McConnell Making Sculptural Stringed Instruments Ellie Richards
Radha Pandey
Mold Making: Fast and Slow Call & Response
Indo-Islamic Paper: Fiber, Color, Aesthetic VISITING ARTIST*
FIBER Sara Clugage WRITING
METALS
LJ Roberts Jeffrey Thomson
5
Boris Bally
Embroidery, Composition, Endoskeleton vs. Exoskeleton
Trigger to Talisman: Transforming
and Collage
Gun Culture One Object at a Time SESSION
GRAPHICS
Anna Hepler + Meghan Brady
WOOD August 9–21 * Visiting artists augment the session with informal
Matthew Hebert activities and are not workshop leaders.
Breaking Form
Photo-Scanning and Digital Carving CERAMICS
METALS Steven Rolf
VISITING ARTIST*
Marissa Saneholtz Consider This
Martha McDonald
Sentiment & Sediment:
FIBER/WEAVING
3
Narrative Enamel
Jane Lackey
WOOD
Alicia Dietz
SESSION Finding Focus
GLASS
Carving Out a Place July 12–24 Victoria Ahmadizadeh
Play on Words
CERAMICS METALS
Matt Mitros + Keith Simpson Kathleen Kennedy GRAPHICS
Digital Methods of Radical Jewelry Takeover! Matthew Shlian + Valpuri Remling
Rolling & Folding
APPLICATION
DEADLINES
Analog Workflows
WOOD
FIBER Norman Teague METALS
SUMMER Pascale Gatzen
friends of light
Objects in Narrative Play Demitra Thomloudis
Surface-Color-Solid
CONFERENCE GLASS
VISITING ARTIST*
Wendy Jacob WOOD MARCH 1
The Haystack summer conference is on Jeremy Scidmore George Sawyer Open Studio Residency
hold for this season and will return in 2021. The Hot Glass Amalgamate Please Be Seated— Scholarship Sessions 1–6
Building Chairs that Endure
For full details please see Director’s welcome GRAPHICS
letter, on previous page. Daniel Minter VISITING CURATOR*
Solving for Intent Andres Payan Estrada APRIL 1
General Application
Sessions 1–6
4 SC H EDUL E AT A GLA NC E LEARN MO RE : HAY STA CK-MTN . ORG 5
LIFE AT HAYSTACK SCHEDULE LOCATION
Plan to arrive between 2 pm and Haystack is located in Downeast
6 pm on the first Sunday of the Maine on Deer Isle, which is
session, checking into the main connected to the mainland by a
office when you arrive. Dinner will bridge over Eggemoggin Reach. It is
be served at 6:30 pm and a general approximately 500 miles from New
orientation will take place at 7:30 York City, 250 miles from Boston, 160
pm. The first workshop session miles from Portland, and 60 miles
LIFE AT HAYSTACK
will begin immediately following. from Bangor. There is transportation
by both air and bus to Bangor, and
Workshops meet from 9 am to 4 pm,
taxi service from there to Deer Isle.
Monday through Friday. Studios are
open twenty-four hours a day, seven
days a week. Throughout the session WEATHER
there are evening presentations Weather on the coast of Maine is
by faculty, staff, and technical unpredictable and temperatures
The human scale of Haystack is integral to the way we assistants, and presentations can range from a low of 40 on cool
evenings to a high of 90 on extremely
teach and learn, and rather than developing plans for by visiting artists and writers.
warm days throughout the summer.
expansion, we are committed to maintaining the intimacy We ask that all participants Layered clothing is suggested and
leave Haystack by 11 am on
of the school and the delicate relationship it has to the the last day of the session.
to be best prepared bring clothing
All accommodations have twin
ranging from shorts and pants to
beds and a lightweight blanket and
surrounding landscape. sweaters, sweatshirts, and rain gear.
Standing
END OF SESSION AUCTION pillow are provided. Please bring a
At the conclusion of each session sleeping bag or additional bedding.
FACILITIES
a celebratory auction of student Studios at Haystack are open
MEALS
on the deck
and faculty work is held to twenty-four hours a day, seven days
benefit scholarships and studio The dining hall at Haystack is
a week. Additionally the school
improvements. While much of the a central meeting place where
maintains a library with a collection
work is made during the session, participants enjoy delicious meals
of books on craft, art, design, and
overlooking Jericho Bay, Haystack American architect Edward Larrabee sometimes people bring their work prepared in our kitchen by our head
architecture as well and a store that
is a breathtakingly beautiful place that Barnes designed the Haystack with them to donate—participation chef and talented staff. We work
sells materials and supplies. Haystack
is hard to forget. The school began as campus on Deer Isle, which opened in the auction is entirely voluntary. closely with many local farmers
is located in a remote setting and
an experimental community of artists to the public in the summer of 1961. Auctions are open to the public. and food producers on the Blue
both cell reception and internet
and has come to be a highly influential The architectural plan encourages Hill Peninsula and surrounding
access are limited. To maintain a
research and studio program in the arts, community and interaction while CONTACT INFORMATION region, and vegetarian options are
retreat setting we ask that you refrain
attracting national and international seeming to float above the forest floor You can always call our office in available at each meal. The kitchen
from cell phone use in the studios,
audiences alike. From workshops for and in 1994 was awarded the coveted Deer Isle and talk with someone will try to accommodate dietary
cabins, dining hall, and the deck, and
participants of all skill levels to a 25-year award from the American about workshop descriptions, life restriction when possible—please
limit usage to the upper portion of
residency program, conferences, and Institute of Architects. As an at the school, what to bring, travel indicate this on your application
the campus and public spaces.
dedicated offerings for Maine residents, organization, we are stewards of this questions, or anything else you need and contact Haystack if you have
we believe it is our responsibility to architectural treasure and the delicate to know about Haystack. We can be any questions or concerns.
ACCOMMODATIONS
create pathways for people to come landscape on which it sits, and believe reached between 8:30 am and 4:30 The cabins at Haystack are an integral Haystack is committed to a culture
to this remarkable place and experience these to be defining characteristics pm EST, Monday through Friday, part of the campus design and we of diversity, equity, and inclusion.
an educational model that is truly of the school. at (207) 348-2306. You can also have several options that range We do not discriminate against any
transformative. find an extensive list of Frequently from dorms (that house up to eleven individual or group of individuals
In writing about Haystack, Robert
Asked Questions on our website. people), triples, and doubles—all on the basis of age, color, disability,
Time at Haystack is marked by long, Campbell, architecture critic for The
uninterrupted days in the studio Boston Globe, described Haystack as located near a central washroom; as gender identification, national
surrounded by a community that cares “so perfectly fitted to its site and its well as a quad, doubles, and limited origin, race, religion, sexual
deeply about what it means to explore purpose that you never afterwards singles with private bathroom orientation, economic status, or
ideas and work with their hands. forget it.” facilities. Some are accessible to those veteran status. All are welcome.
For some, this is an entirely new with mobility issues and we will work
experience while for others a vital part with you on meeting your needs as
of their daily lives. Regardless of closely as we can. Cabins at Haystack
your background, there is a place for do not have heat and participants
you here. should be prepared for cool evenings.
6 LEARN MO RE : HAY STA CK-MTN . ORG 7
SELECTION CRITERIA
An independent committee reviews applications to the
Open Studio Residency and both national and international
artists working in a variety of disciplines are eligible
for consideration. Past participants may reapply to
the residency but preference may be given to first time
applicants. Selection is based on work samples, the
nature and scope of the project that will be done during
the residency (if applicable), and the ability to work in a
creative community. All applications are for the entire
two-week session. Participants must be 21 years of age
or older and students enrolled in an academic program
during the time of the residency are eligible to apply.
Haystack is committed to a culture of diversity, equity,
and inclusion. We do not discriminate against any
individual or group of individuals on the basis of age,
color, disability, gender identification, national origin,
race, religion, sexual orientation, economic status, or
veteran status. All are welcome. For special needs or
questions about accessibility, please contact our office.
APPLICATION PROCEDURES
Haystack partners with SlideRoom to provide residency
applicants with an online application process. Supporting
materials must include a resume and five images of recent
MAY 24–JUNE 5
work. Complete application guidelines, requirements, and
Frequently Asked Questions can be found on our website.
OPEN STUDIO
March 1, 2020
Application deadline. Apply online
at haystack.slideroom.com.
April 1, 2020
RESIDENCY
Results of the juried process will be sent
to residency applicants via email.
“While I had intended to AFFILIATED FEES
develop completed works,
Applicants must pay a non-refundable application fee of $50
through a secure site on the online application. Material
instead I began developing costs and shop fees, payable at the conclusion of the
program, are the responsibility of the residency participant.
Haystack's two-week Open Studio Residency kicks off our summer new ideas. I know that The Open Studio Residency program is supported by
Haystack’s Windgate Foundation Endowment for Programs.
season of programs. The residency is designed to foster artistic many of these lessons will
exploration at the highest level, and those selected attend for free. hold value and meaning
ACCOMMODATIONS
Housing will be assigned at random from among the
various accommodation options available at the school. If
for me, and will reveal you have particular physical needs, please note these on
your application so that we can best accommodate you.
Haystack’s Open Studio Residency fosters a dynamic
exchange of ideas among peers and provides two weeks of
projects. Please note that technicians will not be leading
workshops. If you are interested in learning specific skills,
themselves fully over time.
studio time and an opportunity to work in a community
of makers. The program supports approximately 50
you may want to apply to one of the workshop sessions.
It was an absolute gift.”
The Haystack Fab Lab will also be open, providing an
participants—from the craft field and other creative opportunity for experimentation with digital fabrication J.E. PATERAK, 2019 OPEN STUDIO RESIDENT
disciplines—who have uninterrupted time to work in six as a way for residents to augment and complement their
studios (ceramics, fiber, graphics, iron, jewelry, and wood) to creative practices. In addition to open studios, there will be
develop ideas and experiment in various media. Participants time for participants to share work and discuss ideas across
Apply online at haystack.slideroom.com
can choose to work in one particular studio or move among disciplines. Residents include established and emerging
them depending on the nature of their work. All of the artists working in a range of visual art and craft media.
studios are staffed by technicians who can assist with
8 OPEN STUDIO R E S IDE NC Y: M AY 2 4 – J U N E 5 LEARN MO RE : HAY STA CK-MTN . ORG 9
1
GRAPHICS
Embroidery on cotton, 6" x 4". Photo by Megan Martin
Photo by Alexis Iammariano
03 Ariel Speedwagon and Chicago Figueroa at the NYC Drag March by L J Roberts, 2013.
02 Junction
01 New Misfit 1 by Meghan Brady, 2017. Acrylic collage on paper + Tyvek, 13' x 16'8".
Breaking Form
by Thomas Campbell, 2019. Painted and blackened steel, 21½" x 15" x 7".
Focused on the journey that occurs between material and
process, scale and dimension, we will draw, paint, print,
build, photograph, animate, glue, cut, and re-assemble. This
workshop is designed to loosen well-worn habits of working
and embrace uncertainty. With risk-taking and failure as
essential ingredients in this process, we will dive headlong
into a cycle of mixed-media translations, exposing the
richness of working between material and form.
All levels welcome.
Meghan Brady, a painter, is based in Midcoast Maine. Through
painting, printmaking, and drawing-installations, Brady
explores the possibilities of a wide-ranging practice. Recent
shows include Mrs Gallery’s presentation at NADA House,
Governors Island, New York and ‘Second Hand’ at SPACE
Gallery in Portland, Maine. She has recently been in residence
at the MacDowell Colony and Tiger Strikes Asteroid NYC.
Brady is a graduate of Smith College and Boston University.
meghanbrady.com @meghanbrady
SESSION 1
Anna Hepler is a sculptor based in Greenfield, Massachusetts.
She has completed residencies at the Roswell Artist-in-Residence
JUNE 7–19
Program, the Nova Scotia College of Art and Design, and the
Archie Bray Foundation. In 2016 Hepler was awarded a fellowship
by United States Artists, and more recently received funding
from the Harpo Foundation (2018) and the Nancy Graves
Foundation (2019). Her work can be found in the collections
of the Tate Modern and The National Gallery of Art, amongst
BLACKSMITHING CERAMICS FIBER others. annahepler.com @anna_hepler
Fabrication Fundamentals Mold Making: Fast and Slow Embroidery, Composition, and Collage
This workshop will focus on the basics of steel fabrication Of the basic methods useful in forming clay, using plaster This workshop will function in two related parts through
with an emphasis on creating volumetric forms, both molds may be the least understood. This workshop will developing compositions and narratives that are then
functional and sculptural. We will dive in with a handful of demystify mold-making and demonstrate how direct, intuitive, translated into embroidery as a form of drawing with thread.
quick exercises emphasizing many of the basic techniques and enjoyable the process can be. We will simultaneously During the first part of the workshop we will compose an
and processes involved in steel fabrication. After developing produce highly refined, production-ready molds and quick and image using collage or other suitable methods and then
confidence with these skills and a familiarity with the studio direct splash molds. Participants will gain an understanding shift to hand and machine embroidery techniques to develop
and its equipment, participants will pursue their own projects of how to produce a professional quality mold—but, more texture and dimensionality through stitching. Slide lectures,
with their newly acquired skillset. Daily demonstrations will importantly, how to bend the rules of mold-making to suit their on contemporary artists using embroidery in various ways,
include, but not be limited to, technical drawing and layout, individual working styles and goals. All levels welcome. and presentations on historical examples for reference
basic sheet forming techniques, MIG and TIG welding, cutting, will be included. All levels welcome.
Mathew McConnell is an Associate Professor and Director
grinding and sanding, and finish work and patination. All
of Graduate Studies at the University of Arkansas School of Art. LJ Roberts is an artist and writer working in textiles, sculpture,
levels welcome.
He received an MFA from the University of Colorado, Boulder. artist books, and collage. Their work has been exhibited at venues
Thomas Campbell is a studio artist and fifth generation steel McConnell has exhibited and lectured widely, and has been the including the Smithsonian American Art Museum; Brooklyn
worker living and working in Penland, North Carolina. Following subject of feature-length articles in Ceramics Art and Perception, Museum; Victoria and Albert Museum, London; Orange County
graduation from Hendrix College, he worked as an industrial Ceramics Monthly, and New Ceramics. He has been an Museum of Art; Anthology Film Archives; Carnegie Mellon
steel fabricator for seven years at Bemberg Iron Works, his family’s Artist-in-Residence at the Archie Bray Foundation, Greenwich University; and Leslie-Lohman Museum of Art. In 2015 Roberts
134 year old steel business. In 2016, Campbell was awarded a House Pottery, and Anderson Ranch, and has taught workshops at was one of nine artists who received the White House Champions
two-year fellowship at Penland School of Craft, and was named Oxbow and Greenwich House Pottery. mathewmcconnell.com of Change Award for LGBTQQI Artists. They are a 2019–2020
an Early Career Artist in 2018 by The Society of North American @mathew_mcconnell Artist-in-Residence at Pioneer Works. LJ lives in Brooklyn, New
Goldsmiths (SNAG). His work has been included in exhibitions York and teaches at Parsons. ljroberts.net @atelier.lj 01
at Signature Gallery, Blue Spiral 1, The MINT Museum, and the
Metals Museum and is in the collection of the University of
Arkansas at Little Rock. thomascampbellcraft.com
@thomas_campbell
10 SESSION 1 : J U NE 7 –19 LEARN MO RE : HAY STA CK-MTN . ORG 11
1
03
METALS WOOD
02
Sentiment & Sediment: Narrative Enamel Carving Out a Place
As she sat contemplating how she would create her next Together, we will look to landscape as inspiration for
enameled masterpiece, it came to her in a flash! She would explorations in hand and power carving. Using carving’s
combine different application techniques to layer imagery, subtractive nature, we will slowly reveal layers hidden
color, shape, iconography, and other visual cues to express in the wood. Carving allows us to see the macro and the
her complex narrative. She would create extra layers using micro, both in object creation and in ourselves. Whether
the laser to engrave the enamel and add full color decals! She working literally or figuratively, participants will explore
would share these techniques and encourage her students to how the meandering river or deep valleys are reflective
form their own unique narratives and create wearable objects! of the topography of our lives. While wood is the focus of
It would be astounding! All levels welcome. this workshop, exploration of alternative materials is
encouraged. All levels welcome.
Marissa Saneholtz makes narrative based jewelry and objects
using humor and sarcasm. She is co-founder of the Smitten Alicia Dietz traded a pilot’s helmet for hand plane, following
Forum, an annual traveling residency program and currently her passion for craft after a ten-year, worldwide career as a
teaches at Bowling Green State University. Saneholtz’s work Blackhawk Helicopter Maintenance Test Pilot in the U.S. Army.
has been published in several books including Humor in Craft She received two Woodworking and Furniture Making Degrees
by Brigitte Martin and Narrative Jewelry: Tales from the from Vermont Woodworking School, and an MFA in Craft/
Toolbox by Mark Fenn. Her work can be found in the collections Material Studies from Virginia Commonwealth University. Her
of the Racine Art Museum and the Enamel Arts Foundation studio practice includes private and public commissions for
in Los Angeles. marissasaneholtz.com @saneholtzm furniture, carving, and mixed media. Dietz lives and works with
her partner in Richmond, Virginia. aliciadietzstudios.com
@aliciadietzstudios
with bone charcoal and graphite, dimensions variable (up to 32").
Copper, enamel, 14k gold, diamonds, found objects, 3 3⁄8" x 2¹⁄8" x 3⁄8". Photo by Sara Brown
Kevlar, fabric, ink, 62" x 26" x 24". Photo by Jeremy Zietz
07 Fallen Soldiers by Alicia Dietz, 2015. Basswood, sapele, cypress, poplar,
06 The funny thing was that she wasn’t even mad by Marissa Saneholtz, 2015. Brooch.
05 The
04 More Possibilities for Distance and Mass by Mathew McConnell, 2016. Earthenware
Referee by Anna Hepler, 2017. Plywood, paint, ink, fasteners, 96" x 72" x 48".
07
04
05
06
12 SESSION 1 : J U N E 7 –19
2
GRAPHICS
02 Llama
01 Shifting
Indo-Islamic Paper: Fiber, Color, Aesthetic
Performance by Cynthia Alberto.
Up by Erin Furimsky, 2018. Handbuilt, white earthenware, 9" x 7" x 6".
Islamicate Papermaking was essentially the link between
papermaking traditions in East Asia and Europe. This
workshop will focus on the manifestation of this tradition in
India. We will weave a flexible mold, make our own frames,
use varied fibers, learn to dye pulp and paper, and explore the
historical context of this lesser-known papermaking method.
There will be time to explore by learning and pushing the
limitations of this unique style, all while using your very own
set of tools. All levels welcome.
Radha Pandey is a papermaker and letterpress printer. She
received an MFA in Book Arts from the University of Iowa Center
for the Book where she studied Letterpress printing, Bookbinding,
and Papermaking with a focus on Indo-Islamic Papermaking
techniques. Her artist’s books are held in numerous collections
including the Library of Congress and Yale University. Pandey
has taught at Penland, Cleveland Institute of Art, Women’s Studio
Workshop, Leksands Folkhögskola in Sweden, and Bomuldsfabriken
Kunsthall in Norway. radhapandey.com @pandey.radha
SESSION 2
JUNE 21–JULY 3 01
BLACKSMITHING CERAMICS FIBER
Investigating Tableware Luscious Layers: Form and Surface Backstrap Weaving
The table. Tableware. The tools we use to connect with This workshop will explore the development of personal This workshop will introduce the history of backstrap
nutrition and the natural resources we grow to consume content through sculptural form and rich ceramic surfaces. weaving, which is an ancient and globally practiced tradition.
meals. Based on our everyday interactions with food and We will use various handbuilding techniques, including The backstrap loom consists of two sticks or bars with
the ways our bodies relate to the table setting, this workshop simple molds, to develop ideas through creative exercises, stretched warps in between. One bar is attached to a fixed
will focus on handcrafted approaches to utensils, vessels, sketching, and group discussions. Participants will create object and the other is attached to the weaver so that the
and objects for the table. Participants will learn to forge and interesting and complex layered surfaces with a low-tech weight of the body controls the tension during weaving. We
form steel, brass, and copper into serving utensils, eating approach, employing both familiar techniques and new will use both traditional and modern backstrap looms to
implements, bowls, cups, and trays. Techniques and processes. We will discover strategies for incorporating develop woven projects with an emphasis on sustainable,
demonstrations will include forging, forming, welding, filing, texture, pattern, image, text, and color through the use zero-waste weaving. We will observe and study samples
and finishing. All levels welcome. of underglazes, slips, and glazes at both low- and mid-range of backstrap looms from various cultures—the Philippines,
firing temperatures. This workshop will be applicable to Indonesia, Guatemala, Mexico, and Peru are a few countries
Rachel Kedinger grew up in Wisconsin and received a BFA in
those working in both sculptural and utilitarian ceramics. whose civilizations created backstrap weaving traditions.
Jewelry and Metalsmithing from the University of Wisconsin-
All levels welcome. Participants will learn how to create and weave on their own
Milwaukee. She is an artist currently living in Philadelphia,
backstrap loom with three weaving techniques: plain weave,
Pennsylvania creating her own work and working with local Erin Furimsky is a studio artist and professor in Bloomington,
interlocking, and vertical stripes. Participants will also
museums, organizations, and businesses to promote craft Illinois. Her work has been in exhibitions at galleries and
collaborate with the woodshop to design a backstrap loom.
and design within a community setting. Kedinger primarily museums, including Santa Fe Clay, The Canton Art Museum,
All levels welcome.
makes objects out of metal with a focus on utilitarian use. and the Yingge Ceramics Museum in Taiwan. She has been an
Before moving to Philadelphia in early 2018 she participated Artist-in-Residence at the Archie Bray Foundation and the An artist, designer, and founder of the Brooklyn-based weaving and
in the Core Fellowship Program at Penland School of Craft. Red Lodge Clay Center. You can see Erin Furimsky in a variety healing arts studio Weaving Hand, Cynthia Alberto seeks to
rachelkedinger.com @rkedinger of streaming videos on ClayFlix, with the most recent one on bridge traditional and contemporary weaving techniques, drawing
handbuilding out this year. erinfurimsky.com @efurimsky inspiration from ancient communities of Europe, Asia, Latin
America, and Africa. Her artwork, performances, and public
weaving projects honor traditional and artisanal techniques while
also incorporating unconventional materials and a zero-waste
philosophy. cynthiaalberto.com @cynthiaalbertoweaver
14 SESSION 2 : J U NE 2 1 – J U LY 3 LEARN MO RE : HAY STA CK-MTN . ORG 15
2
METALS WOOD
925 silver, 12" x 37½" x 11". Photo by Aaron Usher III
and components from Good4Guns AntiViolence Coalition (Pittsburgh, PA),
8½" x 9" x 3⁄4".
walnut veneer, waterjet cut industrial felt, and hardware, 20" x 36" x 40".
Papers, bone, grasses.
06 Felt Highback V2.0 by Matt Hebert, 2013. CNC router cut birch plywood,
05 Sampling of historical papers, tools, and materials by Radha Pandey.
04 Loaded Menorah 2 by Boris Bally, 2013. Altered handguns, gun barrels
03 Brass Flatwear by Rachel Kedinger, 2018. Forged and filed brass,
03
Trigger to Talisman: Transforming Gun Photo-Scanning and Digital Carving
Culture One Object at a Time As most woodworkers know, bringing organic forms from
Have you ever wanted to hone your skills to create sculpture the real world into your projects can be daunting. However,
addressing issues of political significance? By using developments in the digital design fields have ushered in a
metalworking and jewelry approaches we will dissect and resurgence of ornamentation. In this workshop we will work
redirect disabled pistols acquired from a gun buy-back between Haystack’s wood studio and Fab Lab, in the process
program (provided to students). We will explore the process merging traditional processes with cutting edge fabrication
of transformation by re-shaping these instruments of techniques. We will sidestep traditional carving processes,
violence into hand-fabricated, alternative personal statements. instead creating three-dimensional forms, through a quick
Discussions will be encouraged as we explore gun culture, introduction to photogrammetric scanning processes and CNC
the mounting counter movement, and the epidemic of machining. No prior digital experience required and all
escalating gun violence. Demonstrations will include combining levels welcome.
ferrous and non-ferrous metals, fabricating, silver soldering, Matthew Hebert has worked under the studio name eleet warez
02
cold-joining, shaping, stone-setting, forging, and gravity since the mid-1990s. Borrowed from hacker culture, the name
casting. Previous metal or jewelry experience is recommended, suggests his technical sophistication, improvisational spirit, and
but not required. penchant for freewheeling appropriation. Hebert received a BA
04
Boris Bally is a Swiss-trained goldsmith working as a metalsmith in Architecture from the University of California, Berkeley and
and designer in Providence, Rhode Island, where he maintains an MFA from California College of the Arts. He has taught at
his studio business, Bally Humanufactured. Over four decades, the University of Wisconsin-Madison, California Institute of the
his practice has become an amalgam of the skills of an industrial Arts, the School of the Art Institute of Chicago, and is currently
designer, craftsperson, sculptor, and a cultural critic; organizing an Associate Professor at San Diego State University.
exhibitions and facilitating political activism to end gun eleetwarez.net @eleetwarez
violence. In 2018 Bally received the Partner Organization
Recognition Award from the Rhode Island Coalition Against
Gun Violence, for his advocacy. Boris Bally was interviewed for
the Smithsonian Institution’s, “Archives of American Art: Oral
History Project” and his work has been featured in numerous
exhibitions and publications, and is in the public collections of
the Victoria and Albert Museum, London; Museum of Fine
Arts, Boston; Museum of Arts & Design, New York; Carnegie
Museum of Art, Pittsburgh; and the Renwick Gallery of the
Smithsonian Institution, D.C. borisbally.com @Boris_Bally
06
VISITING
ARTIST Martha McDonald makes
Photo by Ryan Collerd
installations and performances
that feature handcrafted
05 MARTHA McDONALD costumes and objects, which
she activates through
Material Gestures: Performing Craft movement and song. She
often develops site-specific
Through informal workshops, we will explore the interventions grounded
performative potential of materials, and the power of engaging in deep research into
directly with the natural and built environment of Haystack, collections, archives, and
to make art. We will experiment with how objects and textiles historic material practices;
can be activated to transmit narrative. Maybe we will make and in response to the physical site. McDonald’s work has been
performances. Together, we will consider how performance shown at Craft Victoria, Melbourne, Australia; Smithsonian
and site-specificity can inspire our work. National Portrait Gallery; Black Mountain College Museum +
During her residency, Martha McDonald will also be researching Arts Center; and the John Michael Kohler Arts Center. Her work
and developing a new site-specific work for Haystack. is included in Textiles: The Art of Mankind, by Mary Schoeser.
marthalmcdonald.blogspot.com @marthalmcdonald
Visiting artists augment the session with informal
activities and are not workshop leaders.
LEARN MO RE : HAY STA CK-MTN . ORG 17
3
GRAPHICS
Photo by Lia Conklin
02 Ground Work by Jeremy Scidmore, 2014. Kiln cast aluminum, 48" x 48".
01 RJM
Solving for Intent
Press image, Kathleen Kennedy. Photo by Laura Ferrara
This workshop is a journey in the exploration of printmaking,
collage, and painting. Beginning with sketching, drawing,
and research we will compile images that resonate with you
personally. We will work toward creating patterns with
narrative textures using images and materials such as paper,
wood, thin metals, natural, and human made objects to layer
meaning and intent into our art. This will open the door for
experimentation with new technology such as digital laser
cutting and digital graphics. Traditional linoleum and wood
block carving will be used throughout. Exploring all types
of materials is encouraged in order to create a narrative
statement or conceptual idea through layering, collage, and
assembling. All levels welcome.
Daniel Minter is a painter, sculptor, and illustrator. Much of
Minter’s artwork reflects abiding themes of displacement and
diaspora; ordinary/extraordinary blackness; spirituality in the
Afro-Atlantic world; and the flexible meanings of home. He is
SESSION 3
the co-founder of Indigo Arts Alliance in Portland, Maine. Indigo
Arts Alliance is an artist residency program and incubator
space committed to the artistic development of people of African
JULY 12–24
descent. danielminter.net @d1minter
CERAMICS FIBER GLASS
Digital Methods of Analog Workflows friends of light The Hot Glass Amalgamate 01
This workshop will explore the possibilities of approaching Working in the cooperative spirit of ‘friends of light,’ this This workshop will focus on creating glass sculpture using
digital technology with analog materials and processes. workshop will focus on the weaving techniques they use in a variety of mold making techniques for kilnformed and
From processing local clay that is then 3D printed to digital their hand-woven jackets. Participants will learn to weave hot glass casting. We will explore multi-part mold making,
modeling and handbuilding we will think broadly about “four-selvaged” cloth on hand-made looms, such as a frame- lost wax process, blow molds, and ladle casting. Assemblage
traditional methods, new processes, and expanded ways of loom and the backstrap loom, to create a small garment or and refinement of our hot glass products will be accomplished
working with ceramic materials. Together we will explore garment accessory. We will work with locally sourced through sawing, grinding, engraving, polishing, gluing, and
the local area to dig local clay and source mineral deposits materials and use the inherent, complete woven edges other surface treatments. Group and individual discussions
that can be harvested and transformed into workable (selvages) of this form of weaving. Together we will play will fuel the development of our concepts and a collaborative,
materials to build and glaze objects with as well as learning with simple discontinuous warp techniques and develop team-based approach to working will be encouraged. All
how digital tools in the Haystack Fab Lab can be incorporated sensitivity towards the tension of the warp and weft levels welcome.
into the ceramics studio. CAD software skills are encouraged threads to weave pattern pieces to form. All levels welcome.
Jeremy Scidmore received a BFA from the School of the Art
though not required—all levels welcome.
Pascale Gatzen, founding member of ‘friends of light’ and the Institute of Chicago and later returned to study Arts Administration
Matt Mitros was born in Philadelphia, Pennsylvania. After Head of the MFA Fashion Held in Common at ArtEZ University and Policy. A frequent workshop instructor and educator, he
receiving a BFA from Penn State University, he completed a of the Arts, Arnhem, The Netherlands, will facilitate this has taught glass art at the University of Texas Arlington, University
post-baccalaureate from the University of Illinois and received workshop. ‘friends of light’ develops and produces jackets woven of Illinois Urbana, Pilchuck, Ox-Bow School of Art and Artists’
an MFA from the University of Washington. Mitros has been an to form for each client. They partner with small-scale fiber Residency, Urban Glass, Pittsburgh Glass, Public Glass, Northlands
Artist-In-Residence at Arrowmont, the Archie Bray Foundation, producers to source their materials. They construct their own Creative Glass Center, and Bullseye Glass Co. Scidmore is
and Red Lodge Clay Center. mattmitros.com @mattmitros looms to create pattern pieces that have complete woven edges currently studio technician and Adjunct Professor at the University
(selvages). The design emerges from methods developed to weave of Texas Arlington glass department. jeremyscidmore.com
Keith Simpson received a BFA from the Kansas City Art Institute
two-dimensional cloth into three-dimensional form. @kilnformer
and an MFA from The Ohio State University. Simpson currently
friendsoflight.net #friendsoflight
lives in Alfred, New York, where he serves as Adjunct Professor
and Raw Materials Technical Specialist for the Department of
Ceramic Art at Alfred University. @earlyamericanrobotpottery
18 SESSION 3 : J U LY 1 2 – 2 4 LEARN MO RE : HAY STA CK-MTN . ORG 193
METALS WOOD
Radical Jewelry Makeover! Objects in Narrative Play
In this mini Radical Jewelry Makeover workshop, we will use Workshop participants will use improv, intuitions, and
donated materials from previous RJMs to create new narratives as modes for creating a body of designed objects
“Madeover” pieces of jewelry. Participants will learn to create using mediums such as wood, plaster, and found or valued
jewelry through an RJM lens, with a focus on reuse, wise objects. Through the study of artists and international
practices, and exploring the narratives behind the donated designers alike, including Chakaia Booker, Theaster Gates,
materials. Basic jewelry making techniques will be covered, and Alison Wade, we will consider how sculptural objects
including ingot pouring, cold connections, soldering, basic function, and facilitate content and conversation as it relates
mechanisms/findings, as well as RJM Design Strategies. to personal stories. Bringing personally owned objects as well
All levels welcome. as visiting local thrift stores, lumber yards, and sustainable
outlets we will scavenge, find, and plunder materials.
Kathleen Kennedy is a studio artist and educator. She serves
Discussion and material gathering will be offset by studio
as Co-Director of Radical Jewelry Makeover, an international,
02 demonstrations and construction methods. Sketches and
traveling jewelry mining and recycling project. Kennedy’s
small-scaled prototypes will lead up to the final presentations
research explores the value of objects, not through a monetary
and “Haystack” exhibition. All levels welcome.
lens, but through the emotional connection that bonds us to
them. She has taught at Virginia Commonwealth University Norman Teague is a Chicago based designer and educator
and Penland. Her work has been included in recent exhibitions focused on projects and pedagogy that address the complexity of
at Contemporary Craft, Quirk Gallery, Fuller Craft Museum, urbanism and the culture of communities. Specializing in
and Virginia Museum of Contemporary Art. custom furniture that delivers a personal touch to a specific user
kathleenwkennedy.com radicaljewelrymakeover.org topped with unique aesthetic detail, Teague’s past projects have
@kdangerk @radicaljewelrymakeover included consumer products, public sculpture, performances,
and specially designed retail spaces. He also served as lead
craftsman and co-founder of the Design Apprenticeship Program
at the University of Chicago’s Arts Incubator. His retail
ventures have included partnerships with Leaders1354, The
Silver Room, The Exchange Cafe, DNA STL, Solange Knowles’
Saint Heron, and Redmoon Theater. Teague received a BA in
Product Design from Columbia College Chicago and an MFA
04
in Designed Objects from the School of the Art Institute of
Chicago. Plank22b.com @norm_design22b
03
VISITING
52" x 42" x 42".
on wood panel.
with terra sigilatta, 10" x 14" x 8" each.
filament, Plexiglas, printed PLA, epoxy, paint, push pins, 9" x 7" x 4".
07 friends
06 Self Portrait by Norman Teague, 2016. Ash, cedar, bending plywood,
05 Shale Vase Group by Keith Simpson, 2016. 3D printed stoneware
04 Mug Composition #42 by Matt Mitros, 2018. Ceramic, printed wood
03 Without Fear by Daniel Minter, 2015. Acrylic painted collage
07
ARTIST
of light, Pascale Gatzen. Photo by Daniel Costa
05
Wendy Jacob is an artist
Photo by Galerie Jennifer Flay
whose work explores the
06 interface between the body
WENDY JACOB and the physical world.
Her works includes
Hunting for Mushrooms sculptures, installations,
and performances; walls
Hunting for mushrooms involves attending with all your and ceilings that breathe,
senses, being aware of where you are, and taking time from chairs that embrace, and
everything else just to look. Wendy will lead a series of floors that resonate with
forays to search for mushrooms in the many and varied sub-audible sound. Jacob has
habitats on Deer Isle. Mushroom fruiting is weather, season, worked with engineers, architects, athletes, and a community
and habitat dependent. brass band. Her current project explores the physics of everyday
As a part of her residency, Wendy Jacob will also be creating ambient sounds, and includes a building column activated
a journal that chronicles two weeks on the island through the by a collage of vibrations. Jacob’s works have appeared in the
mushrooms that are found. Kunsthaus Graz, the Centre Georges Pompidou, the Whitney
Museum of American Art, and the Museum of Fine Arts, Boston.
wendyjacob.net
Visiting artists augment the session with informal
activities and are not workshop leaders.
LEARN MO RE : HAY STA CK-MTN . ORG 214
GRAPHICS
dimensions variable. Photo by Elli Ioannou
corrugated cardboard, hot glue, steel, PVC yarn, acrylic yarn and fabric,
metal armature, 96" x 60" x 60". Photo courtesy of The Corning Museum of Glass
02 Summit Suite – Fur Room by Liz Collins, 2019. Selvage loom waste,
01 Meat Chandelier by Deborah Czeresko, 2018. Blown and sculpted glass,
Screen Printing for Social Change
This screen printing workshop will focus on the prompt:
“What positive message do you want to tell your community?”
Participants will be asked, “what does it mean to have
courage of one’s conviction?” We will examine the relationship
between the power of words and image to design and screen
print rally poster/political t-shirts, etc. Starting with one
color, DIY cut stencil posters, we will move into multi-color
images using the drawing fluid method. We will also have
discussions on the strength and history of screen printing for
propaganda. All levels welcome.
Hope Rovelto received a BFA in Sculpture from Maine College
of Art and an MFA in Ceramics from Rochester Institute
of Technology, School for American Crafts. She has taught at
Philadelphia University, Collaborative Studio; The University
of the Arts; and Tyler School of Art. Last fall she worked as
Admission Counselor for Maine College of Art. Rovelto is currently
a full-time operator of her own business, Little Chair Printing—
SESSION 4
a custom screen printing shop, and an Artist Member at Pickwick
Independent Press in Portland, Maine. littlechairprinting.com
@littlechairprinting
JULY 26–AUGUST 7
01
CERAMICS FIBER GLASS
Studio Alphabet Micro/Macro #Reality
Designed to look at the wide spectrum of ceramic production In this workshop we will create temporary, site-specific This serious, playful, and fast paced workshop will focus
and the many parts that make up an object, this workshop interventions into the landscape of the stunning Haystack on efficient ways to capture the spirit of hot glass as a
will explore wheel throwing, handbuilding, extruding, and campus. Considering both micro and macro transformations, transformative liquid for making solid and hollow sculptural
various other forming techniques. Participants will waste participants will select a site across the Haystack grounds forms. Working carefully from observation we will explore
nothing. Cast offs, cut-aways, and remnants, along with the to research and create work for. Beginning at the level of the techniques of marver work, gathering, and shaping with
discrete considered form, will be combined to create new stitch, we will look to a range of hand textile techniques minimal tools to manipulate molten glass into realistic
sculptural objects, pottery, and/or collections of ceramic for processes to scale up into three-dimensional space. All forms. Our focus will be placed on mimicry to create objects
experiments. With topics ranging from the functional “finished” levels welcome. ranging from both the macro and the micro in figural subject
form to the “barely there” ephemeral form, participants matter with careful attention to volume, proportion, and
Liz Collins works fluidly between art and design, with emphasis
will work to establish a studio alphabet in order to construct form. This is an ideal workshop for the aspiring glass sculptor.
and expertise in fiber and textile media. Her work explores
an individual language of material. All levels welcome. Previous hot glass experience required.
the boundaries between painting, fiber arts, and installation.
Ian McDonald is the Artist-in-Residence and Area Head Collins has had solo exhibitions at the Tang Museum, BGSQD, Deborah Czeresko uses a range of approaches and techniques
of Ceramics at the Cranbrook Academy of Art. His work has LMAK, and Heller Gallery in New York; AMP in Provincetown, in her work including hot glass sculpting, performance, and
been shown at venues including the Cranbrook Art Museum; MA; the Knoxville Museum of Art in Tennessee; Gallery DLUL collaboration. She began working with glass at the New York
Curators Cube in Tokyo; Rena Bransten Gallery in San in Ljubljana, Slovenia; and has staged large-scale performance/ Experimental Glass Workshop in 1987 after receiving a BA in
Francisco; the New Wight Gallery at the University of California installations in Los Angeles, Zagreb, Boston, and New York, Psychology from Rutgers University. In 1992, Czeresko received
Los Angeles; and Patrick Parrish Gallery in New York City. among many other places. lizcollins.com @lizzycollins7 a graduate degree in Studio Art from Tulane University. Since
McDonald’s work has appeared or been mentioned in numerous then, she has been a glassblowing instructor and visiting artist
publications including Art Forum, Metropolis, Wallpaper at many universities and schools throughout the US and in
Magazine, Ceramics Monthly, Dwell, and The New York Times. Europe. She was selected as one of the 100 artists included in
studioianmcdonald.com @studio_ianmcdonald New Glass Now and in 2019 Czeresko won Netflix’s art glass
competition show Blown Away. deborahczeresko.com @dczeey
22 SESSION 4 : J U LY 2 6 – A U GU S T 7 LEARN MO RE : HAY STA CK-MTN . ORG 234
METALS WOOD
So Many! Multiples for Installation, Making Sculptural Stringed Instruments
Jewelry, and Objects This workshop is designed for musicians who want to learn
This workshop will explore a variety of methods to produce woodworking techniques and woodworkers who would
multiples using the hydraulic press. We will produce molds like to learn the elements of stringed instrument construction.
and dies to allow for a rapid reproduction of sheet metal Participants will learn sculptural carving, shaping, and
forms that can be used in a variety of applications from large- forming processes to create two unique, stringed instruments—
scale installations to wearable objects. Participants will a dulcimer guitar and a tenor or six-string guitar, based
make hand produced molds and dies and have the opportunity on a special band saw box technique. The fundamentals of
to digitally fabricate forms for dies using the Haystack Fab stringed instrument construction, including scale length,
Lab. Students will leave with a combination of functioning acoustics, fretting, and stringing will also be covered.
molds and dies, prototypes, and big ideas for future multiples. All levels welcome.
02
All levels welcome. Beth Ireland received an undergraduate degree from the State
Lauren Kalman’s practice is invested in the history of adornment, University College at Buffalo, and an MFA in Sculpture from
contemporary craft, video, photography, performance, and Massachusetts College of Art and Design. She has been running
installation. Her work has been in exhibitions at the Renwick her company, Beth Ireland Woodworking, since 1983, providing
Gallery of the Smithsonian American Art Museum, Museum woodworking with a specialization in architectural and artistic
of Arts and Design, Museum of Contemporary Craft, Cranbrook woodturning. Ireland has been involved in a traveling art/craft
Art Museum, and Contemporary Art Museum Houston, among project, ‘Turning Around America,’ since 2010 and an instrument
others. Her work is in the permanent collections of the Museum making project, ‘strumfactory.com’, since 2016, and has received
of Fine Arts Boston, Smithsonian Institution, Detroit Institute three Windgate fellowships. She also teaches the Professional
of Art, and Museum of Arts and Design. Woodturning Intensive at The Center for Furniture Craftsmanship.
laurenkalman.com @laurenkalman Beth lives and works in Saint Petersburg, Florida.
bethireland.net strumfactory.com @thebethisyettocome
03 Keunho Peter Park is an international artist, woodworker,
and instrument maker who teaches at the University of the Arts
in Philadelphia. He received a BFA in Painting from South
Korea’s Kookmin University and an MFA in Woodworking and
04
Furniture Design from the Rochester Institute of Technology.
Among other honors, Park won a 2015 Wharton Esherick award
at the Philadelphia Museum of Art craft show, and served
as a Windgate Artist-in-Residence at Indiana University of
Pennsylvania. studiospong.com @studiospong
16" x 10" x 2".
VISITING
etched and hydraulic pressed brass objects in inkjet print, 28" x 20".
Stoneware, terra sigillata, and glaze, 18" dia x 6".
BMX bike, screen printing press, 5' x 8'.
Right: Low Works (Inner Bowl with Remnants) by Ian McDonald, 2019.
07 Recycled
06 Bicycle Screen Printing Shop, Mobile Studio by Hope Rovelto, 2016.
05 Pat Jr. Guitar by Peter Park, 2019. Walnut, Baltic birch plywood,
04 Left: Low Works (Coral with Floating Cap and Remnants),
03 Strangers to the Garden by Lauren Kalman, 2016. Photochemically
05
ARTIST
Instruments by Beth Ireland, 2016. Mixed media.
Sara Clugage lives and
Photo by Emily Gaynor
works in Brooklyn, New York,
where she is the editor-in-chief
SARA CLUGAGE of “Dilettante Army,” a
quarterly online journal for
06
Radical Hospitality visual culture and critical
theory. In addition to weaving
What is the role of hospitality in the arts? Art is a social and writing, she hosts a
07
industry that depends on connection, on gestures, series of salon dinners themed
and offerings of welcome. In informal discussions and on the economic models
workshops, we will make snacks and environments and culinary styles of diverse
that promise support and generosity, and we will look to periods in art history. Clugage acts as a Director for the Craft
experience the joy of creating things in common, things Advanced Research Projects Agency (CARPA) and is part of the
that we don’t own. How can artists, and the institutions Leadership Collective for the Wikipedia campaign Art+Feminism.
that host them, go beyond a liberal politics of mere access dilettantearmy.com @saraclugage
in order to embrace radical hospitality?
Visiting artists augment the session with informal
activities and are not workshop leaders.
LEARN MO RE : HAY STA CK-MTN . ORG 25RECOGNITION
Designed in 1960 by noted American
architect Edward Larrabee Barnes,
Haystack’s iconic campus on Deer
Isle is considered an outstanding
example of modernist architecture.
The timeless design of the
buildings and their relationship to
the surrounding landscape has a
profound impact on the experience
of being at the school. We are
proud to be the stewards of such an
extraordinary architectural treasure.
Robert Campbell, member of the
In the Vanguard: American Institute of Architects
and architecture critic for The
Haystack Mountain Boston Globe, described the
school as “so perfectly fitted to
School of Crafts its site and its purpose that you
never afterwards forget it.”
1950–1969
AWARDS
1987
Haystack is awarded the
American Craft Council’s Gold
Medal Institutional Award
for “trailblazing leadership and
longtime service in education.”
1996
Haystack receives the American
NEWS &
Institute of Architects’ Twenty
Five Year Award in recognition of
the school’s design excellence.
UPDATES 2006
Haystack is added to the National
Register of Historic Places.
2009
Haystack Announces
Haystack is awarded a Maine Master
Craft Artist Supporter Award
from the Maine Crafts Association
Historic Endowment Gift
in recognition of the school’s
distinguishing mark of excellence.
2016
The Haystack Fab Lab (established
In December of 2019, Haystack announced an historic gift in 2011 in partnership with MIT) is
from the Windgate Foundation to establish an endowment for awarded the Distinguished Educators
Award from the James Renwick
campus preservation. This past year we celebrated the opening of “In the Vanguard: Alliance; this award—the first given
Haystack Mountain School of Crafts 1950–1969,” the first to a program—acknowledges the
This is the single largest gift in the history of the school. exhibition of its kind to provide an overview of the founding influence of Haystack’s digital
years and impact of the school. Organized by the Portland
As an endowment fund this gift will be permanently restricted, Museum of Art, the exhibition garnered critical praise from The
fabrication lab on the work that we
do at the school and how that work
generating annual operating support to help in the preservation Boston Globe, The Portland Press Herald, The Washington Post,
has reached outwards from the
and others. A full color catalog with scholarly essays is now
of our award winning campus for years to come. available from the University of California Press. campus to impact the broader field.
26 NEWS & UPDATE S HAY STA CK-MTN . ORG 275
GRAPHICS
Work on paper, acrylic paint, adhesive labels, kozo paper, 15" x 19" each.
Photo by James Hart
Mixed woods and milk paint, 29" x 27" x 41".
03 On the tip of my tongue 1,2 (lethologica) by Jane Lackey, 2018.
02 Comb Back Windsor Rocking Chair by George Sawyer, 2013.
01 Ara
Rolling & Folding
318 (red on red) by Matthew Shlian, 2018. Paper, 26" x 32" x 1".
Participants will learn the elements of both paper mechanics
and monotype printing techniques then apply them to books,
collapsible structures, and foldable sculptures. The 2D
portion will review how to choose the right paper, how to modify
and roll ink, and how to create color areas and textures with
monotype techniques. The 3D portion will include curve
folding, pleating systems, and modular design in paper craft.
Participants are encouraged to bring in their own imagery,
photographs, etc. from which to work. All levels welcome.
Valpuri Remling hails from Rovaniemi, Finnish Lapland.
She has studied printmaking since 2000, starting in Estonia.
After receiving an MFA in Printmaking from the Finnish
Academy of Fine Arts, Remling studied at Tamarind Institute
in Albuquerque, New Mexico and received a Tamarind Master
Printer certificate in 2009. She returned to Helsinki and
Helsinki Litho, becoming co-owner of the workshop, while also
teaching lithography at the University of the Arts, Helsinki,
SESSION 5
in the Academy of Fine Arts printmaking program, and working
as an artist, showing in Finland as well as abroad. Remling has
held the position of Workshop Manager/Master Printer at
AUGUST 9–21
Tamarind Institute since 2015. tamarind.unm.edu
@tamarindinstitute
Matthew Shlian is an artist/designer and founder of the
Initiative Artist Studio in Ann Arbor, Michigan. His work extends
from drawings to large-scale installations to collaborations
with leading scientists at the University of Michigan. His work
for the National Science Foundation explores paper-folding
structures on the macro level translated to the nano-scale. Shlian’s
CERAMICS FIBER/WEAVING GLASS client list includes Ghostly International, Apple, P&G, Facebook,
Levi’s, Sesame Street, and the Queen of Jordan. mattshlian.com
Consider This Finding Focus Play on Words @matthewshlian
Consider every part of the functional pot. In this workshop An important aspect of art practice is the ability to set Behaving in ways that seem unexpected or even magical,
we will carefully think about every part of making—from self-defined limitations that expand creativity and glass is a fluid and lyrical substance. In this workshop,
conception, skillful use of technique, individual ideas, and deepen conceptual/material content—often a process participants will focus on using language as a pathway to
intended life for the pot. While working with the potter’s of peeling away layers. A series of guided “limitations” purposeful object-making, exploiting the properties of
wheel as a starting point, we will develop a vocabulary of will help participants probe their own practice of glass to translate poetic metaphor. Through concurrent
techniques for use to construct work that reflects our own drawing with materials by forcing reduction, focus, and writing, discussion, and experimentation with the
ideas and intent. Some techniques included will be carving, innovation. The intention is to sharpen your work material, participants will transform found and generated
working with slip, and altering wet and leather hard clay. through experimentation, group critique/discussions, phrases into lush textures, vibrant colors, and playful
Another essential component is punctuating an idea with and examples. During the second week, participants assemblages. A minimum of one-year experience with
our choice of glaze. We will high fire our pieces in a reduction will develop sculptural investigations focused around hot glass recommended.
atmosphere. Working together we will encourage one another discoveries from the first week. Open to all those with
Victoria Ahmadizadeh received a BFA from Tyler School of
to bring our ideas to a higher maturity and resolution. Clay a prior established artistic practice and background
Art and Architecture and an MFA from Virginia Commonwealth
experience helpful but not required—all levels welcome. in textiles.
University. She was awarded a Fellowship by the WheatonArts
Steven Rolf is a studio potter in River Falls, Wisconsin, focusing Tactile materials provoke entry into subjects that circulate Creative Glass Center of America and has been an Artist-
on functional pots. He received a BFA from Kansas City Art and resurface throughout Jane Lackey’s artwork. Her in-Residence at MASS MoCA, the STARworks Glass Lab, and
Institute and an MFA from Alfred University. Rolf teaches installations draw out participatory responses while abstract Pilchuck Glass School. Ahmadizadeh’s work has been in
workshops at universities and craft schools throughout the US. His works on paper overlap textile references and social exhibitions at the Glasmuseet Ebeltoft, Denmark; DOX Centre
work has been in exhibitions in Japan, Korea, Denmark, and the interactions. Exhibitions include Galleries of Contemporary for Contemporary Art, Czech Republic; and UrbanGlass,
US, and included in museum collections at the Minneapolis Art, Colorado Springs; the Tang Teaching Museum; New Brooklyn, New York. vahmadizadeh.com @internet___angel
Institute of Art; American Museum of Ceramic Art; Ulsan Museum, Mexico Museum of Art; and Wellcome Trust, London, UK.
Korea; Museum of Contemporary Craft; and the International She has been awarded the US/Japan Creative Artist Exchange
Museum of Dinnerware Design. His work has also been featured Fellowship, Camargo Foundation Fellowship, and artist
in Ceramics Monthly and Studio Potter. scrolfpotter.com grants from the NEA. Lackey was Artist-In-Residence at 01
@steven_rolf Cranbrook and currently lives/works in Santa Fe, New Mexico.
janelackey.com @janelackeystudio
28 SESSION 5 : A U GU S T 9 – 2 1 LEARN MO RE : HAY STA CK-MTN . ORG 29You can also read
